Musically,the score survived the trims and might even have benefited from them: Thebrisker movement from one section to the next highlighted the degree of inventivenessthat drives this piece and pointed up passages of real beauty. In Knee Play 3, for example, the unaccompaniedchorus sings streams of numbers, yet the music has the grandeur of a sacredsetting much of the time and, at others, the energy of a symphonic presto. AndTim Fain, the violinist, gave the solo passages in the second, fourth and fifthKnee Plays and in the climactic, swirling Spaceship Interior scene an electrifying, virtuosicworkout.
Some of theworks magic is in the way its elements pull in opposite directions. Therepetition of short phrases, on one hand, can be soporific; yet the wheezingkeyboard and woodwind textures and the bursts of choral counting, withsibilants creating their own rhythmic patterns, are invigorating. And becausethe performance is heavily amplified, timbres seem to melt together: Is thatrepeating fragment a voice, a violin or the top notes of the organfigure? The ensemble, which included musicians who have been with Mr.Glass from the early days as well as newcomers, gave the score a tight,high-energy readi1.
1. Futuremusicologists will lose much sleep over Philip Glass because_____.
[A] PhilipGlass works are consistently changing based on the different context andvarious external conditions.
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